Saturday, April 30, 2011
May 7 - June 4, 2011
Opening reception: May 7, 7-9 PM
West Street Gallery is pleased to present the debut solo exhibition of work by New York based artist Van Hanos.
This exhibition is a selection from a set of 33 oil paintings on linen created as gifts for friends, colleagues, and mentors who have had a formative effect on the artist. Each will receive a work at the end of the show’s run. The paintings make tribute to people and dialogues stretching back to the artist’s childhood; some the artist has not made contact with in years.
Intentionally “attractive” and warm in tone, these paintings are in part devotional, while articulating a range of rules and attitudes. The works correspond loosely and variously to their subjects.
Each image is a detail of a painting previously made by the artist. This gesture continues the artist's ongoing effort to scramble his signature while upholding the singularity of painting. "Funny... This show isn't presenting any new imagery," says the artist. "[Making details] can be a way of not making paintings". He cites Bob Dylan’ s frequent inclusion of two versions of the same song on one LP, a process that separates singer from songwriter, and the process of songwriting. Instead, Hanos focuses on the time and difference implicit to the labor of painting.
Eric Firestone Gallery
East Coast Space
4 Newtown Lane
East Hampton, NY
ABC123 Group Show
Featuring works by:
JOSHUA ABELOW, JON BOCKSEL, STEPHANIE BRODY-LEDERMAN, CHRIS CACCAMISE,NANCY DWYER, ALFRED JENSEN, DEBORAH KASS, RON MOROSAN, LOREN MUNK, JOE NANASHE, DENNIS OPPENHEIM, KAY ROSEN, ED RUSCHA, LANCE RUTLEDGE and KAREN SHAW
April 23 - May 22, 2011
Opening reception: April 30, 2011
Friday, April 29, 2011
Thursday, April 28, 2011
MK: In Milton Glaser: To Inform and Delight, Wendy Key's 2010 documentary on your life, you briefly mention that you went abroad for a semester as an undergrad at Cooper Union, and studied in Bologna with Giorgio Morandi. Could you elaborate on what your experience was like?
MG: It's interesting. I always tell the story about Morandi and the fact that we essentially never spoke about art, and he never really reviewed or criticized one's work. He was teaching at the Accademia in Bologna, and he taught kids who had no experience with etching, or in many cases, who had no experience making art at all. He was a modest man. If he had been in the United States, he undoubtedly would be teaching some kind of master class in advanced painting, but in Bologna he taught the most basic introduction to the mechanics of etching. What I learned about him more than anything was his commitment to the idea of making art. Morandi was a man of incredible integrity. His work possessed him. He would teach a couple times a week, but then he would go home and paint the rest of the day, every day, until his death. He also enjoyed a good meal, and in Bologna he was fortunate to be in a place where the food is arguably the best in Europe. So - he liked going to nice restaurants. But besides that, he seemed to be a man with almost no personal needs except to make his paintings. And thank God for that. When I finally saw the 2008 survey of his work at the Met, I realized the extraordinary variation and development in his paintings more than ever. When you look at Morandi's work quickly, you think that it's the same thing over and over again. But you regard it with some attention, you discover that the range is fantastic. The modesty of the paintings and their lack of drama keep you from noticing at first. Later you feel changed by the experience, and you no longer look at the world the same way. The sense of attentiveness that art develops is one of the distinctions between what is art and what is not.
to read the full interview click here: link
Chaim Soutine, Woman in Red, c. 1923–24
Francis Bacon, Seated Figure, 1960
Chaim Soutine, Portrait of a Man with a Felt Hat, c. 1921–22
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